Chapter 41 duel

Dedicated to Juan Osvaldo Viviano One of the two protagonists of my story, Mrs. Figueroa, introduced me to the work of Henry James, who did not ignore history, devoting in that direction more than a hundred pages of irony and tenderness, interspersed with complex and Deliberately ambiguous dialogue, perhaps with some overly false emotional overtones.A different geographical background: London or Boston, doesn't change anything essential.Since our story takes place in Buenos Aires, I will not change it.I only talk about the outline, because describing its slow evolution and secular environment is not in line with my literary habits.For me, writing this story was just an incidental thing.What I want to remind the reader is that the plot is not important, but the characters and the reasons for the formation of the situation are important.

Clara Glencairn de Figueroa was haughty, tall, with fiery red hair.Her talent was not outstanding, her intellect was not as strong as her understanding, but she could appreciate the talents of others, including other women.She is broad-minded and inclusive; she loves the variety of the world; perhaps for this reason, she travels everywhere.She knows that fateful circumstances are sometimes a combination of rituals that don't make sense, but these rituals amuse her and she takes them seriously.When she was very young, she was ordered by her parents to marry Dr. Isidoro Figueroa, who had served as the Argentine ambassador to Canada, but later resigned on the grounds that the embassy was inappropriate in the age of telegraph and telephone. The trend of the times can only increase the burden.His decision drew general resentment from her colleagues; Clara liked the climate in Ottawa—after all, she was of Scottish blood—and she didn't dislike being the ambassador's wife, but she didn't object to the doctor's claim.Shortly thereafter, Figueroa died; after several years of hesitation and reflection, Clara decided to pursue painting, perhaps inspired by the example of her friend Marta Pizarro.

Marta Pizarro was said to be like sisters to the brilliant married-and-divorced Nelida Sara. Before choosing a paintbrush, Marta Pizarro also considered a career in literature.She could have written in French because she was used to reading books in French; Spanish was her instrument at home, just as the ladies of Corrientes used Guaraní.She had often seen in the press the works of Lugones and Ortega Gasset of Madrid; Not suitable for expressing deep thoughts or surging passions.Her musical knowledge is limited to not being shy about going to concerts.She is a St. Louis native; she began her painting career with elaborate portraits of Juan Chrysostomo Rafinuel and Colonel Pascual Pringues, and, unsurprisingly, those Sure enough, the portrait was acquired by the Provincial Museum.She turned from portraits of local celebrities to landscapes of ancient houses in Buenos Aires, depicting elegant courtyards with quiet colors, not as vulgar as others.Some -- certainly not Mrs. Figueroa -- say that her art has the flavor of the Genoese masters of the nineteenth century.There had always been a certain antagonism between Clara Glencairn and Nelida Sala (Sara was said to have taken a liking to Dr. Figueroa); the two were at war, and Marta was just a tool.

As we all know, it all started in other countries and finally reached our country.One of the many examples is that school called Concrete or Abstract, which is unfairly forgotten today because of its contempt for logic and pictorial language.That school plausibly says that since music can create a unique sound world, then the sister of music, painting, of course, can also try the colors and forms of things we see that have not been presented.Lee Kaplan said that although his paintings were not favored by the bourgeoisie, they fully complied with the prohibition in the Bible that human beings are not allowed to make idols (Islam also has the same rules).He believed that the true tradition of pictorial art had been distorted by heretics like Dürer or Rembrandt, and that iconoclasts were restoring it.His attackers said he was inspired by patterns on rugs, kaleidoscopes and ties.The aesthetic revolution offered irresponsible, effortless allure; Clara Glencairn chose the path of abstract painting.She had always admired Turner; she intended to promote Gutai by her unestablished brilliance.She worked steadily and steadily, some works were overthrown and some were discarded. In the winter of 1954, a series of egg yolk paintings were exhibited in a gallery on Supacha Street that specialized in the so-called avant-garde works that were popular at that time.The unthinkable happened: the public's general response was generally good, but the school's organ slammed the unconventional form, saying that the simple circles and lines evoked, if not symbolic, at least the setting sun, the jungle, or The chaos of the ocean.Clara Glencairn chuckled secretly.She wanted to follow the path of the modernists, but was rejected by the modernists.She concentrates on her work and doesn't ask about the results.This episode does not affect her painting style.

A secret duel has begun.Marta is not only an artist, she is also passionate about what can be called art management and works as a secretary in an association called the Giotto Painting Society. In mid-1955, she managed to get Clara, already a member, to serve as spokesperson for the association's new leadership.This matter is seemingly insignificant, but it is worth pondering carefully.Marta did her friend a favour, but it was undeniable and somewhat mysterious that the beneficiary was superior to the beneficiary. In 1960, "two brushes of international standard" - pardon the cliché - competed for the first prize.An older candidate presents, in heavy oil paint, the ferocious figure of a tall gaucho of the Scandinavian type; .The judges, all over their fifties, were inclined to vote despite their disgust, lest people say they were backward in their views.After a heated debate, everyone's opinions could not be unified. At first, they paid attention to politeness, but then they got bored.During the third discussion, it was suggested that:

"I don't think B's painting is good; actually I don't think it's as good as Mrs. Figueroa's." "Did you vote for her?" "Not bad," said the former angrily. That afternoon, the judges unanimously awarded the award to Clara Glencairn.She has a good personality and popularity, and often holds receptions at her villa in Pilar, and first-class publications send reporters to interview and take pictures.The congratulatory dinner was organized by Marta.Clara thanked her with a curt speech; she said there was no confrontation between tradition and innovation, routine and exploration, and that, in fact, tradition was formed by years of exploration.Many celebrities, almost all the judges, and individual painters attended the exhibition.

We think chance is always bad and other chances are better.Gaucho admiration and happiness longing are the nostalgic psychology of urbanites; Clara Glencairn and Marta are tired of the same leisurely life and yearn for the world of artists who have devoted their lives to creating beautiful things.I guess the blessed ones in heaven probably think the virtues there are exaggerated by theologians who have never been to heaven.Those who have been sent to hell may not feel that hell is always terrible. Two years later, the first International Congress of Latin American Plastic Arts was held in Cartagena.Each republic sends representatives.The theme of the conference is very meaningful: Can artists get rid of local color?Is it possible to avoid native flora and fauna, not to deal with issues of a social nature, not to echo the struggle against Saxon imperialism, etc.?Dr. Figueroa served as a diplomatic post in Cartagena before becoming the ambassador to Canada; Clara is proud of winning the award last time, and hopes to revisit the old place as an artist this time.This hope was dashed; the government appointed Marta Pizarro as its representative.According to the unbiased opinion of the Buenos Aires-based journalists, her record has been distinguished, if not always convincing.

Life demands passion.Two women find passion in painting, or rather, in the relationship that painting makes possible for them.Clara Glencairn, so to speak, painted for Marta, to overwhelm her; they were each other's judge and solitary spectator.Inevitably I noticed an interplay between them in those frames that are now unappreciated.It should not be forgotten that the two of them had a crush on each other, and they had always been aboveboard in that secret duel. During this time, Marta, already in her prime, turned down a chance to marry; all she cared about was her struggle. On February 2, 1964, Clara Glencairn died of an aneurysm.Her obituary was large in the newspapers, which is still necessary in our country, where women are considered members of a sex, not individuals.Apart from hasty references to her love of painting and good taste, a great deal is devoted to her piety, her goodness, her consistent, almost obscure benevolence, her distinguished family - General Glenn Kane served in the Brazilian campaign - —and her eminent position in high society.Marta feels her life has no meaning.She has never felt so empty.Recalling earlier times, she exhibited in the National Gallery a modest portrait of Clara, done in the style of the English masters they both loved.Some people commented that this is her best work.After that, she never picked up a paintbrush again.

Only a few close friends noticed that delicate duel, in which there was neither defeat nor victory, not even a conflict or other obvious circumstance worth mentioning.Only God (we don't know about his aesthetic preferences) can bestow the final laurels.History that runs in darkness will end in darkness.